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CIS i^lELTr o^w 




Swimming and Gymnastics 

r 

liADE EAST. 



THE ART OF 

BOXING, 



SWIMMING AND GYMNASTICS 

MADE EASY, 



^A^' 



COMPLETE AND SPECIFIC DIRECTIONS FOR AC. 
QUIRING THE ART OF SELF-DEFENCE, SWIM- 
MING, AND A LARGE VARIETY OF GYM- 
NASTIC EXERCISES, 

ENABLING ANY ONE TO BECOME AN 

EXPERT BOXER AND ATHLEfL 



WITHOUT THE AID OF A TEAGJitj^^ 



NEW YORK : 

PUBLISHED FOR THE TRADE. 

COPYRIGHT, 1883, BY HURST 4 CO. 



\^/ V 



THE SCIENCE OF SELF-DEFENCE; 

— OR, 

THE ART OF BOXING 



The Art of Boxing has been practiced more or 
less among the two great nations of antiquity. The 
Greeks and Romans held it in high respect, and even 
the Jews did not wholly eschew the art of smiting, 
while the descendents of the Tribes who settled in 
England have contributed many of the most brilliant 
boxers to the roll of fame. That every man who de- 
sires the development of the muscular powers of the 
human frame, the possession of quickness, decision, 
endurance and courage should practice boxing as a 
matter of necessity, since by no other means can all 
these qualities be so thoroughly tested and cultivated. 
Every man should be able to use the weapons which 
nature has given him to the best of his ability — not 
necessarily to oppress or injure others (since the best 
boxers are almost invariably the least quarrelsome and 
overbearing persons,) but to be able to defend him- 
self from attack or oppression on the part of others. 
The smallest and weakest man, by assiduous practice 
in boxing, may make himself an antagonist by no 
means to be despised; and well do we remember see- 
ing a small, pale, slender-looking slip of a fellow, give 
a great hulking waterman, six or eight inches taller 
than '"^mself, a very wholesome thrashing at Hamp- 



8 

ton Court once for attempting to bully him out of his 
fare. It was beautiful to see how the little man slip- 
ped away under the arms of the big one (who was 
weaving and walloping them about like the sails of a 
windmill,) propping him sharply here, there and every- 
where, until the bully, worn-out and bleeding, admit- 
ted that he had had enough, and the little one walked 
off without a mark, amid the cheers of the spectators. 
The big one was probably careful in future to deal 
„.nore carefully with his customers. Boxing has been 
called brutal. With persons who hold that view it is 
perhaps useless to argue; they look only at the worst 
aspect of the meanSy and entirely shut their eyes to the 
object^ or better side of the question. But it may fair- 
ly be asked whether manners have improved since 
boxing was abolished by law; whether there is less 
brutality, less wife-beating and kicking, now than for- 
merly: and whether the spectacle one so often sees, 
of two great hulking brutes blackguarding each other 
in the foulest and most filthy language, yet both 
afraid to hit one another from want of familiarity with 
the usages of combat, is an improving one ? Is there 
less brutality, less criminal violence, often attended 
with fatal or nearly fatal results ? less ready use of 
un-English and unmanly weapons and means of de- 
fence than there was formerly } We say No, emphat- 
ically, and with certainty, no. In the old days, when 
boxing flourished, if a man had been seen ill-treating 
a weaker one or beating and kicking a woman, twen- 
ty men who could use their fists would have come 
forward promptly "to help the weak," and the brute 
would soon have learnt at what a risk he indulged his 
propensities. Now, twenty men will pass by on the 
other side, or scuttle off down a by-street to be out of 
the row. 

Our great fatal mistake was made in putting down 
wh?it was qaUed "prize fighting." It -^^^ first declare 



OR, THE ART OF BOXING. 9 

ed illegal, and then tolerated for many years. The 
professors of the art being thus placed under a social 
ban, and having to practice it in opposition to the law, 
the more respectable and better class of their patrons 
became gradually weeded out, and while the Tom 
Springs and Deaf Burkes, men of sterling worth, cou- 
rage and unimpeachable honesty, passed away, worse 
came in their places; and then, this, the natural result 
of such a course of treatment was pointed to as a reason 
for active interference and putting fighting down al- 
together. Yet the native love of seeing a. well sfricken 
field was never so strongly displayed as when Tom 
Sayers and Heenan fought their well contested fight, 
and the best blood in England stood by the ring side 
and looked on with breathless interest. Had such 
patronage always awaited the ring, had endeavors 
been made to raise its status and social condition in- 
stead of lowering it; had it been recognized as a na- 
tional benefit that the youth of England should know 
how to protect itself, should know how to bear exer- 
tion and pain with unflinching courage and endur- 
ance; had it been admitted that a school for the en- 
couragement and practice of the art in which the 
highest efficiency could be obtained was a national 
requisite, then indeed we should have had matters 
placed on a different footing, and the rowdyism and 
blackguradism one used to hear so much of and which 
were mainly due to the low parasites and hangers on 
of the Ring would not have been heard of at all, for 
the professors of the art, seeing themselves respected, 
would have put all this down with a strong hand. As 
it is, the school of boxing is rapidly dying out, and 
when the professors of the present day have passed 
away it will be hard to say where the new ones are to 
come from. Unless, therefore, some strong step is 
taken to revive the fallen fortunes of the Ring, the 
school of British Boxing will soon be a vision of the 



10 THE SCIENCE OF SELF-DEFENCE; 

past, and Continental manners and practices of the 
worst type will find a home amongst us. 



USEFUL HINTS IN SPARRING. 

Keep your eyes open. 

Abstain from biting your lips^ or putting your tongue j 

between your teeth. Very serious accidents may occur f 

from so doing. ) 

The mouth ought to be jftr?nly closed. The slightest / 

tap on the lower jaw when it is hanging loose will be j 

remembered for long afterwards, while a more severe l 

blow will dislocate it. The value of this piece of ad- j 

vice will be the more obvious to the reader if he at- } 



tempts simply to shake his lower jaw when his mouth 
is closed and then repeat the experiment with it open. 

Endeavor in sparring to let the muscles work as 
loosely and easily as possible. Let all your move- 
ments be light and free. Lift the feet, do not drag 
them. By these means you will cultivate quickness, 
without which, knowledge is of little use in boxing. 

In sparring round your adversary keep the left 
hand and foot in front of you, and after delivering a 
blow, work to your right, in order to get out of reach 
of his right hand. 

Wrestling is not permitted in boxing. 

It is a foul blow to hit below the belt. 

Avoid if possible coming to close quarters with a 
man of much superior weight. In out-fighting quick- 
ness may neutralize weight, but in in-fighting the lat- 
ter must always tell. 

It may perhaps be as well to explain the somewhat 
technical expression of ''in-fighting" and "out-fight- 
ing." 



OR, THE ART OF BOXING. it 

In-fighting means half-arm hitting^ with both 
Arms, when close to antagonist. In in-fighting a man 
must rely upon his quickness in hiting, and cannot 
pay much attention to guarding. 

OuT-FiGHTNG mcans long-arm hitting and guard- 
ing, and includes manoeuvring for a' hit coupled with 
a readiness to guard. 



HITTING. 

POSITION OF THE HANDS AND ARMS, ETC. 

In hitting make as much as possible of your weight. 
The blow that is simply delivered by the action of the 
muscles is nothing by comparison with that which is 
followed and driven home by the full weight of the 
body. Remember, also, to have the hands tightly 
closed. In fighting this would naturally be an unne- 
cessary caution; it is, however, a frequent occurence to 
see men hit with open gloves. Besides diminishing 
the force of the blow, a sprained or otherwise injured 
hand or wrist may follow. 

In the left hand lead off at the head, the blow 
should be given with the upper knuckles, and in all 
others with the hand in the position shown in plate 
XXXVII. 

In leading off with the left hand at the head the arm 
should be perfectly straight, with the elbow turned 
under and palm upwards. Vide plate XXXVII. 

For all other blows the arm should be slightly bent, 
the elbow pointing outwards, and the palm turned 
half down and inwards. Vide plate XXXVII. 

There are four hits, viz: 



The left hand at the head. 
The left hand at the body. 



The right hand at the head. 
The right hand at the body. 



12' THE SCIENCE OF SELF-DEFENCE; 

DUCKING. 

Ducking consists in throwing the head on one side 
and at the same time slightly lowering the body, so 
as to allow the blow intended for the head to pass 
harmlessly over the shoulder. It is an excellent meth- 
od of avoiding a blow, affording, moreover, an oppor- 
tunity of delivering one, for the pupil should bear in 
mind never to duck without at the same time hitting. 
When opposed to a bigger man than yourself, fight 
at his ^ody, using the ducks shown in plates X and 
XIII. 

There are five ducks. 

The duck to the right, as practiced when counter- 
ing with the left hand on the head. Vide plate XIX. 

The duck to the right, when it is intended to de- 
liver a left-hand body blow. Vide plate X. 

The duck to the left while delivering a right-hand 
cross-counter. Vide plate XX. 

The duck to the left, giving at the same time a 
right-hand body-blow. Vide plate XIII. 

The duck to the right which is sometimes used 
when leading off at the head with the left hand, in 
order to avoid a counter. Vide plate IX. 



FEINTING. 



A FEINT is a false attack made to divert attention 
from the real danger which followd, as, for instance, 
a left-hand feint followed by a right-hand blow, or a 
feint at the head followed by a body blow. To make 
a feint with the left hand, straighten the arm sudden- 
ly as though you were going to deliver a blow, and at 
the same time advance the left foot about six inches, 
keeping the head back, then return to the guard. 



OR, THE ART OF BOXING. 13 

A feint with the right hand is made thus: draw the 
arm back suddenly as though you were going to hit, 
and at the same time advance the left foot about six 
inches, keeping the head back, then return to the 
guard. "Drawing" has some affinity with feinting 
and may be described under the same head. Its ob- 
ject is to induce your opponent to deliver a certain 
blow for which you are prepared, and which it is your 
intention to counter; you do this either by feinting 
and enticing him to follow you up, or by laying your- 
self open with apparent carelessness to the attack you 
wish him to make. Both are, of course, exceedingly 
useful, but the beginner will do well to cultivate quick- 
ness and attain some proficiency in straightforward 
sparring before he turns his attention to manoeuvers 
which are more likely to get himself than his adver- 
sary into trouble if they are not preformed with great 
rapidity. When your opponent feints or attempts to 
draw you, either get back or else guard both head and 
body as illustrated in plate VIII. 



A LEFT HAND FEINT AND LEAD OFF. 

Feint a lead of with the left hand, so as to induce 
your adversary to throw up his right-hand guard. 
Should he do so^ hit at the pit of the stomach. Should 
he not raise his right hand^ follow the feint up with 
a genuine lead off at the head. Particular attention 
should be paid in this attack to the action of the feet. 
Make a short step with the left foot (about six inches) 
as though you were going to lead off, then withdraw 
it and suddenly deliver the blow; using the feet as de- 
scribed in plates VI. and X. This movement requires 
some practice, as it should be performed with great 
rapidity. 



H 



THE SCIENCE OF SELF-DEFENCE; 




PLATE L 

ATTITUDE 



b% f HE ART OF BOXING. Ig 

In this position the toes of the right foot must be 
directly behind and in a line with the left heel. The 
distance between the feet naturally varies according 
to the height; for a man of 5ft. Sin. it should be 14 
inches. Let the right foot be turned slightly out, and 
•jraise the heel about two inches from the ground; the 
weight then will rest on the ball of the foot. The left 
foot ought to be flat on the ground and pointed to- 
wards your opponent's left toe. Slightly bend both 
knees. The right arm should be across the "mark" 
(that point where the ribs begin to arch,) the hand be- 
ing an inch below the left breast. To obtain the exact 
position of the left arm, advance the left shoulder, 
drop the arm hj the side, and then raise the fore-arm 
until the hand is on a level with the elbow. In spar- 
ring it -should be worked easily forward and back- 
ward. Throw the right shoulder well back, and slight- 
ly sink it, so that of the two the left shoulder is the 
higher. Lower the chin, turn the face a little to the 
right, and bend the head slightly over the right shoul- 
der. The object of turning the face is to prevent both 
eyes being hit at once, while the head is bent to the 
right in order that it may not be directly in a line 
with your opponent's left hand, and thus afford him 
an easy target. 



THE DOUBLE LEAD OFF AT THE BODY AND HEAD. 

Commence with the body blow as described in No. 
X.; instead, though, of retiring immediately you have 
struck out, bring the right foot about twelve inches 
forward, step in a few inches with the left, and follow 
the first blow up with a second aimed at the face. 
Both blows, which must follow one another as rapidly 
as possible, should be delivered with the left hand. 
The palm in each instance ought to be turned down» 



i6 



THE SCIENCE OF SELF-DEFENCE; 




PLATE 11. 



SHAKING HANDS 



Both before and after a bout with the gloves, the 
combatants should thus salute one another. It is a 
good old-fashioned English custom, betokening 
friendly feeling and should never be omitted. A 
hearty shake of the hands after a warm set-to, in which 
both men have, perhaps, become rather more earnest 
than is necessary, at once dissipates what might 
otherwise grow into ill feeling. As the hand is ex- 
tended^ move the right foot to the front, and at the 
conclusion of the ceremony throw it smartly behind 
the left and assume at once the position given in plate I 



OR, TH£ ART OF BOXINC. 



17 




PLATE III. 



BOTH MEN ON GUARD. 



It is of the utmost importance that a man should 
stand and get about well. The advantage of quick 
hands is sadly neutralized by slow legs. To get about 
quickly and safely, there must be some arrangement 
and method in the steps. An experienced boxer, who 
has paid attention to the action of the feet, always 
stands firmly; his feet are never flurried, the same 
distance usu^ly separates them; he moves rapidly, 



neatly, and quietly. With a novice, or boxer who 
imagines that getting about is an unimportant detail, 
and the manner in which he moves of no consequence, 
the case is different. As a rule his movements are 
few and deplorably slow; when suddenly attacked, he 
loses his balance, and most of his attention is conse- 
quently directed to saving himself from falling. 
Should he, however, be more ambitious, and attempt 
to move with any rapidity, the whole performance is 
a scramble. His feet are too close together, or too 
far apart, his legs are (if I may use such an expres- 
sion) constantly in his way; he stumbles^ staggers and 
rolls about in an absurd manner, not unfrequently 
ending by tripping himself up, and falling even with- 
out the assistance of a blow. 

By referring to the plate you will see both men on 
guard, in the position illustrated in Plate No. I, and 
before proceeding further they should practice the 
following steps: — 

To advance, move the left foot about ten inches 
forward, placing it upon the ground heel first. Let 
the right foot follow it the same distance. Bear in 
mind that the space between the feet should vary as 
little as possible. 

To retire, step back about ten inches with the right 
foot, following it in like manner with the left. 

To take ground to the right, move the left foot about 
twelve inches to the right, following it immediately 
with the right, and assuming again position No. I. , 

To take ground to the left, move the right foot twelve 
inches to the left, and place the left directly in front 
of it. 

By adopting these steps the right foot is always 
behind the left, you are always in position, and con- 
sequently ready either for attack or defence. 



OR, THE ART OF BOXING. 



19 




PLATE IV. 



BREAKING GROUND. 



This is the term applied to the usual method of 
retreat in boxing. You break ground in the follow- 
ing manner. In leading off at the head your right 



20 THE SCIENCE OF SELF-DEFENCE; 

foot will be raised from the ground {j)ide plate VII.) 
As you set it down again and the weight of the body- 
is transferred to it from the left leg, spring back- 
wards. The left foot should touch the ground first, 
alighting on the same spot upon which you formerly 
placed the right, which then assumes its natural po= 
sition in the rear. You will thus find yourself in po< 
sition a pace behind the spot from which you origi- 
nally stepped in to lead off. It is necessary sometimes, 
if your opponent follows you up very quickly, to dou- 
ble the step, that is to say, to make two consecutive 
springs backwards. For other blows, although the 
right foct is not raised from the ground at the mo- 
ment of striking, the movements in breaking ground 
are precisely the same, for the moment the weight 
falls on the right leg you spring back as described 
above. 



GUARD FOR LEAD OEF AT THE HEAD WITH THE 
RIGHT. 



Raise the left elbow and bend the arm so that the 
fist is somewhat lower and nearer to the body than 
the elbow. Let the palm be turned to the front. 
Shift the right foot back about six inches, and lean a 
little forward, so that you are the better able to resist 
the attack. Look over your wrist, and receive the 
blow upon the elbow. 



ORj THE ART OF BOXING. 



21 




PLATE V. 



SIDE STEP. 



This is exceedingly useful in avoiding a rush or 
I if- getting away when you are driven back against 
the ropes. We will suppose you to be in position fa- 
cifig your adversary. By a sudden movement of the 



22 THE SCIENCE OF SELF-DEFENCE', 

feet, half spring half step, you turn the body to the 
right, change the relative position of the legs, and 
assume the attitude of a fencer on the lunge, that is 
with the right instead of the left leg in front, as is 
usual in boxing. Your left should now be turned 
towards your adversary, the line of your feet being at 
right angles to the line in which they formerly stood. 
The left foot should be upon almost the same spot 
formerly occupied by your right. If your adversary 
advances hastily and without caution whilst you are 
in this posture he will be apt to trip over your left 
leg. Bring the left foot into position before the right, 
and you will then stand a pace to the right of your 
original station. If this step is executed rapidly you 
elude your opponent, for he will no longer be in front 
of you, and consequently you can easily get away 
from the ropes. A combination of the side step and 
breaking ground should also be practiced. Spring 
back as if breaking ground, and alight in the posture 
above described as that of a fencer on the lunge, with 
the body turned to the right, bring the left foot into 
position before the right, and you thus get back and 
work to the right of yourself at the same time. 



LEFT-HAND COUNTER ON THE BODY. 

This should be delivered when your adversary is 
leading off at your head with his left hand. Duck to 
the right, step in about twelve inches, and aim your 
blow at the pit of his stomach. The right hand should 
be drawn seven or eight inches back, and held close 
to the side. To get away^ turn the left heel out and 
spring well back. Do not raise the head until out of 
distance. 



OR, THE ART GF B02C1NG. 



^ 




PLATE VI. 



LEFT-HAND LEAD OFF AT THE HEAD WITHOUT 
GUARDING. 



The lead off at the head should, as a rule, be made 
with the left hand. Its importance can hardly be ex- 
aggerated. Every effort should, therefore be direct- 
ed towards attaining proficiency in this particular. 
A quick lead off frequently enables a man to score 



24 THE SCIENCE OF SELF-DEFENCE; 

point after point without receiving a return. He 
spars round his adversary, watching for an opportu- 
nity, and then, having measured hisd istance well, steps 
in, plants a blow, and is away again at once. With 
these tactics at his command, a light man will often 
fight a heavy weight all over without coming to close 
quarters, at which weight would inevitably tell in fa- 
vor of its possessor. A slow lead off lays a man open 
to counters and cross-counters, which will hereafter 
be described. 

The lead off should be made when the hand is in 
the position shown in plate No. I. In all other blows 
the hand is more or less drawn back before delivery; 
in this case, however, it should come straight out, as 
it were, spontaneously, and without the slightest hes- 
itation. Beginners are almost always inclined to hit 
downwards, or ''chop" and bear heavily upon their 
opponent's guard. This should be avoided. In step- 
ping in push yourself off the ball of the right foot, 
and spring in about eighteen inches. The action of 
foot and arm should be simultaneous; do not step in 
and then deliver the blow. The lead off at the head 
with the left hand is the only blow that is delivered 
while the right foot is raised from the ground. 

As you step in the right foot should follow, and, 
at the moment of striking, hang over the spot for- 
merly occupied by the left. Full advantage is thus 
taken of height and reach. Be careful when you step 
in to place the left foot upon the ground, heel first. 
If the toe touches the ground first, and your adversa- 
ry by chance gets back instead of guarding or receiv- 
ing your blow, you do not meet with the expect- 
ed resistance, and consequently are apt to overbalance; 
in which case, until you can recover yourself, you are 
at his mercy. The head and right hand remain in 
position No. i. 



OR, THE ART OF BOXING. 



25 




PLATE VII. 



RIGHT-HAND GUARD FOR THE HEAP, 

To guard the head from your opponent's left hand, 
raise the right hand nearly to a level and in front of 
the left temple. Let the fore-arm cross the face, and 
be thrown forward so as to turn instead of receiving 
the weight of the blow. Keep the elbow down. Close 
the hand firmly in order to brace the sinews, and turn 
the palm partly outward or the blow will fall on the 
bone of the arm instead of the muscle. At the same 
time bend the head forward and to.the right — thus, al- 
though the face is well out of danger, you can still 
see your opponent over the fore-arm. 



^6 



THE SCIENCE OP SELF-DEFENCfe; 




PLATE VIII. 



LEFT-HAND LEAD OFF AT HEAD AND GUARD. 



The lead off m this case is precisely the same, but, 
at the moment of hitting, you also throw up the right 
hand guard to protect the face from a possible left 
hand counter. It requires a little practice to do this 
without detracting from the rapidity of your lead off; 
your trouble will, however be well spent, for with an 
opponent who frequently attempts left-hand counters 
this will be found a very useful manoeuvre. 

For the feint of this lead off, sec p. 12, 



OR, THE ART OF BOXING. 



27 




PLATE IX. 



LEFT HAND LEAD OFF AND DUCK. 



This illustration represents the same lead off again. 
In place of the right-hand guard, it is, however, ac- 
companied with a duck, thus avoiding instead of 
guarding the left-hand counter. Observe that for 
this blow the right foot is not raised; it does not fol- 
low the left as in the preceding examples, but re- 
mains firmly planted on the ground, as in the left-hand 
JDody blow. 



2S 



THE SCIENCE OF SELF-DEFENCE; 




PLATE X. i ^ 

LEFT-HAND BODY BLOW. 

This blow should never be attempted unless you 
are confident that you have sufficient room behind 
you to be able to get well away again. It should be 
directed at the pit of the stomach, which is the weak- 
est part of the body. Occasionally it may with ad- 
vantage be preceded by a feint at the head, in order 
to induce your opponent to throw up his right hand 
guard and lay the "mark" open. Let the ball of the 
right foot be kept well on the ground. Step in about 
thirty inches with the left foot, hitting out at the same 
time and ducking to the right. In the event of your 
adversary attempting to counter you with the left, 
your head will thus be outside his arm, which will 



OR, THE ART OF BOXING. 



29 



pass harmlessly over your left shoulder. For thi's 
blow the arm should be slightly bent, the elbow turned 
out, and the palm of the hand turned inwards and 
partly down. The right arm should in the meantime 
be drawn back seven or eight inches, and the glove 
held close to the side. To get away, turn the left heel 
outwards and spring well back, taking care not to 
raise the head until out of distance. 




PLATE XI. 



STOP FOR LEFT-HAND BODY BLOW. 



Like all stops, this requires very accurate timing. 
Having f orseen your adversary's intention, hit him full 
in the face with your left hand before he can get his 
head down. Keep your right arm in its original po- 
sition across the ''mark." . 



so 



THE SCIENCE OP SELF-DEFENCfi*, 




PLATE XII. 

GUARD FOR LEFT-HAND BODY BLOW. 

It is customary, in order to prevent the preceding 
"double," to cover both body and head at the same 
time. When, therefore, the body is attacked, put up 
the right hand guard, and, at the same time, throw 
the left arm well across the "mark" {vide plate VII.) 
Be careful to hold it firmly against the body, for even 
the jar of a severe body blow will knock a good deal 
of the wind out of a man. Step back about six inches 
with the right foot, so as to be the better able to resist 
a rush. 

This is also a guard for double lead off at body 
and head described on p. 15. 



OR, THE ART OF BOXING. 



31 




PLATE XIIL 



RIGHT-HAND BODY BLOW. 



This should be aimed at a little below the heart. 
It is delivered under the same circumstances and in 
the same manner as the left-hand body blow {vide No. 
X.,) with these exceptions: You duck to the left in- 
stead of right, and the feet when you have stepped in 
§hould only be twenty inches apart instead of thirty; 



32 



THE SCIENCE OF SELF-DEFENCE; 



you have consequently to get nearer your opponent 
before attempting it. Be sure always that you have 
sufficient room behind you for retreat. 

Should he attempt to put his left arm around your 
neck while you are delivering this blow, duck to your 
right under his arm and get away. This should al 
ways be done when a man attempts to seize your head 
When opposed to a man who stands with the riglii 
leg in front, you must duck to your left. 




PLATE XIV. 



STOP FOR RIGHT-HAND BODY BLOW. 



This Stop is exactly the same as that recommended 
for the left hand body blow. Vide No, XI, 



33 




PLATE XV, 



GUARD FOR RIGHT-HAND BODY BLOW. 



Bring the left side forward and drop the left arm, 
which should be slightly bent^ so as to cover the side 
and front of the thigh. Care should be taken to press 
the arm close to the body, in order to prevent the jar 
through which you would otherwise feel inuch of the 
force of the blow. 



34 



THE SCIENCE OF SELF-BEFENCE; 




PLATE XVI. 



A LEAD OFF AT THE HEAD WITH THE RIGHT. AND 
GUARD FOR IT. 



Feint with the left, hitting your opponent on the 
right arm. Do not withdraw your hand, but as he 
raises his guard rest upon it with your left and pin it 
to his chest; then bring in the right hand, aiming it 
at the chin or angle of the jaw. Properly delivered 
this is a most punishing blow, for by steadying your- 
self with the left hand you can bring your full force 
into play with the right. 

For guard for lead off at the head with the right, 
§ee p. 20, 



OR, THE ART OF BOXING. 



35 




PLATE XVII. 



LEAD OFF WITH RIGHT HAND AT HEAD, AND DUCK. 



When leading off at the head with the right, you 
may duck to the left, and avoid a right-hand counter. 
In this illustration both men are preforming this man- 
oeuvre. 



36 



THE SCIENCE OF SELF-DEFENCE; 




PLATE XVIII. 



LEFT-HAND COUNTER ON THE HEAD. 



Wit Jt 'i:K/il- -° -n^-d oU at th, head 



eR, 'THE ART OF BOXING. 



37 




^ 



PLATE XIX. 



LEFT-HAND COUNTER ON THE HEAD, A^^ 



There are, perhaps, few blows more unpleasantly 
startling than a good left-hand counter which meets 
you full-face. It opens a spacious firmament to the 
bewildered eyes, wherein you discover more new plan- 
ets in a second than the most distinguished astrono- 
mer ever observed in a life-time. As your adversary 
leads off at your head with his left hand, duck to the 
right so as to allow his blow to pass over your left 
shoulder; step in about twelve inches and strike out 
at his face. The right foot should not be moved. 
Here both men have, as it happens, made use of the 
same stratagem; in consequence of which, both left 



3S ITHE SCIENCE OF SELF-DEFENCE; 

arms have passed harmlessly over each other's left 

shoulder. 

LEFT-HAND COUNTER ON THE HEAD AND GUARD. 

The difference between this and the preceding 
counter will be easily understood by studying the 
plate. It consists simply in guarding your opponent's 
lead off instead of ducking to avoid. You step in and 
hit out as before. 




PLATE XX. 



RIGHT-HAND CROSS COUNTER. 

This is the most severe blow which can be dealt 
in sparring. It is delivered as follows: As your op- 



OR, THE ART OF BOXING. 



39 



ponent leads off at your head with his left hand, step 
in about twelve inches, ducking to the left, at the 
same time shooting your right hand across his left 
arm and shoulder. The blow should be aimed either 
at the angle of the jaw or chin, and the palm of the 
hand should be half turned down. Let both feet be 
turned slightly to the left, as by these means the right 
side is brought forward and greater force given to ' 
the blow. As the counter is delivered, draw the left 
hand back to the position illustrated in the plate, then, 
should a second blow be necessary, before getting 
away you can deliver it. 




PLATE XXI. 

STOP FOR RIGHT-HAND CROSS COUNTER. 
Anticipating your adversary's intention, hit him 
full in the face with the left hand before he ducks; or, 
m§t§a4 pf striking at his face, deliver the blow on th^ 



4G 



THE SCIENCE OF SELF-DEFENCE; 



right side of his chest near to the shoulder, and his 
right hand will be effectually stopped. 

ANOTHER STOP FOR RIGHT-HAND CROSS COUNTER. 

As you lead off with your left drop the head well 
forward, so that at the end of the movement your 
left ear will be touching the inside of your upper arm 
when the angle of your jaw and chin will be com- 
pletely covered by your shoulder. 

Body blows with left or right hand will act as stops 
for all right hand hits at the head. 

For left-hand counter on the body, see p. 22 




PLATE XXII. 

RIGHT-HAND COUNTER. 

This occurs when both men lead off together with 
the right hand. 



OR, THE ART OF BOXING. 



41 




PLATE XXIII. 

STOP FOR RIGHT-HAND COUNTER. 
Duck your head to the left as you lead off. 



RIGHT-HAND COUNTER ON THE BODY. 

Dtck to the left in order to avoid your opponent's 
lead off, and strike out with the right hand at a point 
a little below the heart. The left hand should be 
drawn back as shown in the illustration. In all other 
particulars this blow represents the preceding. For 
this and the left-hand counter, it will be well to study 
the right and left hand body blows (Nos. XIII. and 
X,) for, with the exception of the circumstances under 
which they are delivered, and the difference in the 
distance of the advance made the blows are the same. 



THE SCIENCE OF SELF-DEFENCE; 




PLATE XXIV. 



LEFT-HAND UPPER CUT. 



This blow, which in reality is a counter, should be 
given when a man is leading off at your head with 
his left hand holds his head down. Guard your face 
with the right arm, step in about twelve inches, and 
hit upwards with the left. The arm should be bent 
and elbow turned down. The force of the blow must 
come in a great measure from the body. 



U 



OR, THE ART OF BOXING. 



43 




PLATE XXV. 



DRAW AND STOP FOR LEFT-HAND UPPER CUT. 



Feint a lead off at your opponent's face with your 
head down, then duck to the right, and give the left- 
hand body blow as described in No. X. 



THE SCirNCJE OF SELF-DEFENCE; 




PLATE XXVL 



RIGHT-HAND UPPER CUT. 



With this exception that you do not guard, this 
blow is similar to and delivered under the same cir- 
cumstances as the left-hand upper cut. In delivering 
it the head should be slightly bent to the left. 



OR, THE ART OF BOXINa. 



4S 




PLATE XXVIL 



A DRAW AND STOP FOR RIGHT-HAND UPPER CUT. 



Feint with the head as if it were your intention 
to lead off with it down, then throw the head back 
and lead off at your adversary's face with the left 
hand. 



46 



THE SCIENCE OF SELF-DEFENCE; 




PLATE XXVIII. 



ANOTHER DRAW AND STOP FCm RIGHT-HAND 
UPPER CUT. 



Feint a lead off at your opponent's face with your 
left hand, then duck to the left and put in the right- 
hand body blow. The reader should notice in this, 
as in other illustrations, the position of the hand not 
absolutely in use. Never drop your hands until out 
of distance. 



OR, THE ART Of fiOXlKO. 



47 




PLATE XXIX. 



HOW TO PREVENT YOUR ANTAGONIST FROM HITTING 
AFTER YOU HAVE LED OFF AND PASSED OVER 
HIS LEFT SHOULDER. 



When this occurs, bend the elbow quickly, place 
your fore-arm against his throat, and thrust his head 
back. Grasp his left shoulder with your left hand 
and seize his left elbow with your right hand. This 
will effectually stop him from hitting you. 



43 



THE SCIENCE OF SELF-DEFENCE; 




PLATE XXX. 



SLIPPING. 

This is an exceedingly useful manoeuvre, which 
enables you to avoid a rush or get out of a corner. 
Feint a lead off, tapping your adversary lightly on the 
chest or right arm; do not then retire, but as he comes 
at you duck to the right, make another step forward 
(as described in the lead off with a double step in,) 
and pass under his left arm, To face him again, turn 
JO the kit, 



OR, THE ART OF BOXING. 



49 




PLATE XXXI. 



THE HEAD IN CHANCERY. 



No directions can be given for getting a man into 
this position. When in close quarters, you should, 
however, always be on the look out for a chance of 
doing so. If it occurs, grasp your opponent firmly 
around the neck with the left arm and use the right 
to punish him. 



s<> 



THE SCIENCE Oli' SELF-BfirJllJCS,* 




PLATE XXXII. 

TO- GET OUT OF CHANCERY. 

Almost the best advice to give a man who is firmly 
and fairly caught in chancery is not to attempt to get 
out, at least unless the hold loosens, and he can make 
his effort with some chance of success. In pulling 
away or resisting he is simply hanging himself. He 
should, therefore, push his opponent back (see plate 
XXXI,) and at the same time figlit to the best of his 
ability with both hands. If, however, he discovers 
the danger before the grasp has tightened, he should 
place one hand under his adversary's fore-arm near 
the elbow, the other under the shoulder, and push the 
arm up, ducking at the same time, and dragging the 
head away. 



OR, THE ART OF BOXING. 



SI 




PLATE XXXIIL 



IN-FIGHTING. 



In-fighting generally takes place in a corner or 
near the side of a ring. In in-fighting bring the right 
foot forward until it is nearly in a line with the left, 
drop the chin and lean forward, so as to receive the 
blows on the forehead. Keep your eyes fixed on your 
antagonist. Use both hands and hit rapidly, bringing 
the shoulder well forward at each blow. The arms 
should not be drawn too far back, as time is lost there- 
by; a great deal of the force of the blow is obtained by 
turning the body slightly to right or left as you hit. It 



52 



THS SCIENCE OF SELF-DEFENCE; 



is a great advantage to have your hands inside your 
opponent's, you should, therefore, keep them as close 
together as possible, so as to obtain, or if you already 
have it, keep this advantage. Aim the left hand at 
the eyes and nose, the right at the chin or angle of the 
jaw. After delivering five or six blows, get away. 
Never fight at the body in in-fighting, invariably make 
the head your mark. 




PLATE XXXIV. 



TWO MEN ON GUARD, ONE WITH LEFT AND THE 
OTHER WITH RIGHT LEG IN FRONT. 



0K^ THS ART OF BOXING. 



5? 




PLATE XXXV. 



GUARD FOR RIGHT-HAND LEAD OFF AT HEAJl WHEN 
OPPOSED TO A MAN WHO STANDS WITH RIGHT 
LEG IN FRONT. 



54 



THE SCIENCE OT SELF-DEFENCBr 




PLATE XXXVI. 

DUCK AND COUNTER FOR A LEAD OFF AT HEAD BV 
A MAN WHO STANDS WITH RIGHT LEG IN FRONT. 



THE WAY TO DEAL WITH A MAN WHO STANDS WITH 
HIS RIGHT LEG AND RIGHT ARM IN FRONT. 

Work to your left in order to avoid his left hand. 
Be chary in leading off with the left hand, as that is 
at once difficult and dangerous. It is far better to 
lead off with the right hand and duck at the same 



OR, THE ART OF BOXING. 55 

time to the left. When your adversary leads off with 
the right hand, duck to the left and counter either 
upon the face or body. 

The blow on the face must be given like the right 
cross counter (z7V<? plate XX.,) and the one on the body 
like the right-hand body blow shown in plate XIII., 
except that you must aim at the pit of the stomach 
instead of at a little below the heart. 



THE GUARDS FOR AN OPPONENT WHO STANDS WITH 
HIS RIGHT LEG IN FRONT. 



When he leads off with the right-hand guard with 
the left arm as shown in plate XXXV, guard his left 
with your right arm, as shown in plate VII. 

Use the guards, illustrated in plates XV and XII, 
for his right and left hand body blows, guarding his 
right with your left and his left with your right. 

Avoid in-fighting with him as much as possible. 

I have now, to the best of my ability, described the 
principal hints, stops, guards, &c., in boxing, as I use 
and teach them myself. Having to a certain extent 
perfected himself in these, the pupil will do well to go 
through the following exercises^ making the hits as 
smartly and as rapidly in succession as possible, but 
not omitting to return to the position illustrated in 
plate No. I, after each blow. The opponents should 
take it in turns to guard and attack. 



56 THE SCIENCE OF SELF-DEFENCE* / 1 

First Exercise, I 

'4 

I. — Left-hand body blow Cget back.) ] 

2. — Right-hand body blow (get back.) i 

3. — Left hand lead off at the head, guarding with the I 

right (get back.) i 

4. — Right-hand cross counter (get back.) 1 

5. — Lead off at the head with the left and duck to the ] 

right (get back.) "^ \ 

Second Exercise. i 

I. — Right hand body blow (get back.) ;j 

2. — Lead off with the left at the head without guard- ] 

ing (get back.) 

3. -^Right-hand cross counter (get back.) i 

4. — Left-hand body blow (get back.) j 

5. — Lead off with the left at the head and duck (get \ 

back.) ] 

"« 

Third Exercise. ? 

I 

I. — Lead off with the left hand at the head without 1 

guarding (get back.) 
2. — Right-hand cross counter (get back.) 

3. — Left-hand lead off at the head and duck to the - 

right (get back.) j 

4. — Left-hand body blow (get back.) ] 

5. — Right-hand body blow (get back.) ] 



OR, THE ART OP BOXING. 57 



Fourth Exircise. 



I. — Lead off with left at body, then make a short step 
in and repeat the blow on the face (get back.) 
{This is the double lead off at body andhead^ wid^page 8.) 

2. — Lead off with left and right at head (get back.) 

3. — As your opponent retires, advance quickly, then 
step in and deliver the left on the face (get back.) 

4. — Both men lead off with left and guard (get back.) 



Fifth Exercise. 

I. — Lead off with the left hand at the head (get back.) 

2. — Right-hand cross counter, remain and commence 

in-fighting, deliver five or six blows and get back. 



Never degenerate into a rough, unmeaning, un- 
scientific scramble. In the midst of impetuosity re- 
member coolness; and never let the heat of action 
lead you to forget good-temper. Be manly; seek no 
undue advantage. Science and pluck give advantage 
enough. 



ss 



THii SCIENCE OF SELF-DEFENCE* 




LEFT HAND LEAD OFF AT HEAD. 




RIGHT-HAND CROSS COUNTER. 




LEFT-HAND BODY BLOW. 




RIGHT-HAND BODY BLOW. 

PLATE XXXVII. 



POSITIONS OF THE HANDS WHEN HITTING. 



OR, THE ART OF BOXING. 59 

BOXING COMPETITIONS. 

There is no published code of rules for the man- 
agement of boxing competitions or for the guidance 
of the judges, so I beg to offer the following sugges- 
tions, which may be of service until a proper set has 
been formed by some recognized authority. 

In boxing competitions, there should be four 
judges, a referee and timekeeper; a judge to sit at 
each corner of the ring (outside,) and the referee to 
move about so that he may see the whole of the ma- 
noeuvring and hitting, and at the end of each round 
the referee and judges should assemble and decide, 
during the interval between the rounds, which man 
has had the advantage. When the judges sit togeth- 
er, they cannot possibly see all the hits given. 

The competitors should toss for corners. 

The referee should under no circumstances be the 
timekeeper, as he cannot both keep time and watch 
the rounds. 

In judging, both body and head blows, indeed, all 
points in boxing should be taken in consideration, as 
well as form and style. 

In-fighting should not be ignored and looked up- 
on as roughing. There is great art in it, and in a 
street fight it is much more useful than out-fighting. 

The competitors should be divided into four 
weights, termed 'Teather/' *'Light," "Middle" and 
"Heavy," viz: — 

Feather for men under 112 lbs. 
Light " 140 lbs. 

Middle '' 158 lbs. 

Heavy for men of any weight. 



^ THE SCIENCE OF SELF-DEFENCB; 

Three rounds should be soarrrH fh^ fi^o^ j 

and upon a repetition, disqualfied by the ud^es ' 
haJd"cI^o\fd"^ ^'^ '^^^^ -"^^ '^^ driive*;irf!t^. the 

neither should they be permitted t^d' rect theTr "tn 

dunng a round, either by word or sign ^" 

When a competitor draws a hv^ t,« ev,« u • 

«..^opSK£ht" ■L-.H'Ji'Ss^ •■' '•' ""' " 

r,.„'r:7fT'^fu°'' u^° '"^y ^^ disabled during a 
round, and not be able to renew the contest before 
sixty seconds have expired, shall be considered beaten! 

HOW TO PITCH A RING. 

The ground should be level, and where ther^ i. 
sufficient room the rin^ should h^ Z fl\ 

formed of two lines of rfpes°ande,ght\'tat ^'^"^"' 
h, J if f ^""^ ^^""''^ be strong, with round tons and 
have holes or rings through ^hich to run tRpes^ 



OR, THE ART OF BOXING. 6l 

and should be firmly fixed in the ground, out of which 
they should stand 5 feet. 

Two rows of ropes of 4 inches in circumference 
should be run around the ring, the bottom one about 
2 feet 3 inches from the ground, and the top one 4 
feet 3 inches. 

When the ring is on a raised stage, a stout piece 
of wood about 5 or 6 inches deep should be fixed all 
around the edge of the floor to prevent the men slip- 
ping off. 

Under no circumstances should the ring be less 
than 12 feet square. In a ring of less dimensions the 
men would not have sufficient room to use their feet 
wither' vhich there can be no good boxing. 



WINNERS 



-OF- 



THE MARQUIS OF QUEENSBERRY'S 

BOXINGCHAMPIONSHIPCDPS 



Since the Oommencement of the Competitions. 





HEAVY 


WEIGHTS. 




1867. 


J. C. Halliday. 


1873. 


F. B. Maddison. 


1868. 


T. MiLVAIN. 


1874. 


D. Gibson. 


1869. 


No competition. 


• 1875. 


A. L. HiGHTON. 


1870. 


H. J. Chinnery. 


1876. 


R. Wakefield. 


I87I. 


H. J. Chinnery. 


1877. 


J. M. R. Francis. 


1872. 


E. B. MiCHELL. 


1878. 


R. Frost Smith. 




MIDDLE WEIGHTS. 




1867. 


H. J. Chinnery, 


1873. 


A. Walker. 


1868. 


H. J. Chinnery. 


1874. 


F. R. Thomas. 


1869. 


H. J. Chinnery. 


1875. 


J. H. Douglas. 


1870. 


E. B. Michell. 


1876. 


J. H. Douglas. 


I87I. 


E. C. Streatfield. 


1877. 


J. H. Douglas. 


1872. 


H. J. Blyth. 


1878. 


G. I. Garland. 




LIGHT WEIGHTS. 




1867. 


R. Cleminson. 


1873. 


C. T. HOBBS. 


1868. 


No competition. 


1874. 


L. Denereaz. 


1869. 


H. L. Jeyes, w. 0. 


1875. 


H. S. Giles. 


1870. 


R. V. Churton. 


1876. 


A. Bultitude. 


I87I. 


R. V. Churton. 


1877. 


H. Skeate. 


1872. 


R. V. Churton. 


1878. 


G. Airey. 



"WITHOUT A MASTER. 63 

POINTS TO BE OBSERVED. 

•* Begin with gentle toils, and aa your nerves 
Grow firm, to hardier, by just steps aspire." 

Have a motive ! If possible in walking, jumping, climbing, 
or in doing any of the exercises given in this Treatise, have a 
motive and a will. A companion will sometimes add a zest to- 
what would otherwise be a dull and listless mode of passing the 
time or fulfilling a duty. It is for this reason that games are 
so much more beneficial as a branch of physical education, 
than the best designed system of exercise, or other appliance. 
Winter, spring, and summer generally bring some seasonable 
enjoyment with them, which should be eagerly embraced as an 
adjunct to the exercises here given. The increased bodily vig- 
or will greatly assist the enjoyment of all. Golf, cricket, 
sliding, skating, digging, gardening, dancing, all give vigor and 
action to the human frame, and employ tho mind as well as the 
body. 

Attention should be paid to the regularity of breathing. 
Whatever increases the capacity of breathing improves the 
health, and the greatest attention is given to this point by all 
gymnastic teachers. Good wind is necessary for all feats — for 
the enjoyment of o utdoor exercise of every description. It may 
be wonderfully improved by reading aloud, by taking long in- 
spirations on first rising in the morning, either indoors or 
before an open window, or, better still, in a garden, at first 
cautiously, but it may be continued for ten minutes at a time. 
Few things are better as a guard against consumption, and for 
improving the breathing generally. 

The dress, too, must be considered. It should be loose 
fitting, and, if possible, of flannel, confined with a belt round 
the waist. Taste will dictate the color, and convenience the 
width of the belt. The shoes should be of soft leather, light, 
and made like Irish "brogues," without heels. 

Sudden transitions are to be avoided. Exercise to be of use 
should begin gently and terminate in the same manner. The 
left hand and arm should be exercised until they become strong 



64 MANLY EXERCISES 

like those of tha right. Be war* of draughts ; being cooled too 
quickly when perspiring is injudicious. Drinking while hot 
and getting into a cold currant of air must be avoided. A coat 
or wrapper should be handy to cover over the body the mo- 
ment exercise is over. No exertion should be carried to 
excess, as that only exhausts the body. Strength will come 
surely and gradually. 

Economize your power. Do not waste your energiei. Avoid 
kicking with your legs when performing a feat with your arm* 
and hands. Do what you have got to do quickly and easily. 
The best gymnaits are those who perform their feats with the 
least effort. 



FREE MOVEMENTS. 

"If at first you don't succeed, 
Try again." 

Good resolutions are made at night and broken in the morn- 
ing. It is tiresome to think how we must be roused from our 
9leep to undergo a course of active exercise, and begin those 
horrid gymnastics. But you can begin, my trembling boy, in 
bed. Poor dyspeptic, you may begin by 

ExEBC3isB 1. — Lay yourself on your back in bed, if you like, 
but the floor is better. Keep the body stiff, and let your armi 
lie close to your sides. Legs and heels to lie in the same line. 
Now, without moving the heels, raise the body perpendicular 
from the hips upwards, without moving your legs. How 
strange you could do it so easily ! Lie down and try again. 
Better done this time. Just cross your arms over your breast, 
and "try again.'* Practice this ere you rise, varying it by 
clasping the hands over the head, and raise the body as before, 
keeping the arms on a line with the shoulders. This is a prac- 
tical illustration of domestic gymnastics, which you may try 
before you rise. 



WITHOUT A MASTER ^J 

Exercise 2. — Try and raise the right leg, until it is perpen- 
dicular. Now lower it again by raising the body until it resti 
by the side of the other. Try the same movement with the left 
leg. When you can do thig easily, try both together. Bather 
funny, is't it, to have a gymnastic lesson in bed? When your 
back will bear the strain, end«avor to raise the lower extremi- 
ties and pelvis so as to touch the pillow behind your head with 
your toes. This is not difficult, aud on a hard mattress is ex- 
cellent practice for the muscle* of the posterior portion of the 
human frame. Keep the arms extended, resting on the mattress, 
the knees stretched. Eeturn gradually to your old position, and 
you will find yourself quietly seated on the floor. Now rary 
the movement by sitting up, bend the knees, lay the soles ot 
your feet flat against tach other. Extend your arms, and hold 
the lower part of your legs steadily between your hands. Low- 
er yourself on your back ; carry your legs over your heels ; 
keep your arms full extended ; make a slight contrary move- 
ment, and return to your original position. If you prefer it, 
you may try 

EiEECisE 3. — Turn your face to the mattress (for of course 
you are not so eifeminate as to sleep on a feather bed), and 
extend yourself longitudinally, supporting yourself by the 
strength of your arms and toes ; [see Fig. 1] the hands must be 
turned inward and the fingers point toward each other. Now 
allow the body to sink slowly, let the arms bend gently, still 
keeping the body extended, without permitting the stomach to 
rest. Touch the hands with the lips and return slowly to the 
first position. Kopeat the movement deliberately again and 
again. A very useful variation may be thus performed. While 
in the foregoing position (Fig. 1. ), put the right hand under 
the right hip, leave the left hand in its place as before. Allow 
the body to sink, gently bend the arms, keep the body still ex- 
tended on the toes, touch the left hand with the lips, and return 
to first position and restore the right hand to its place. Repeat 
the movement with the lelt hand under the left hip, and you will 
liave exercised many of the most important muscles of the 



66 MANLY EXERCISES 

body. Now you may get np, and recollect that your lungs have 
been lying all night breathing slowly. Remember they are like 
a bladdsr in their structure, and can be stretched open to double 
their ordinary Bize with perfect safety. Expand the chest and 
defy consumption. On rising from the bed place yourself in an 
erect posture, throw your chest forward and your shoulders 
entirely off your chest. Now take a long inspiration, suck in 
all the air you can — inhale nature's universal medium, the com- 
mon air, so as to fill your lungs. Hold your breath, throw 
your arms behind, holding your breath as long as possible. 
Now for the sponge-bath, if a shower-bath is not handy ; rub 
yourself dry with a coarse towel — don t be afraid of a little fric- 
tion—and we wiU then proceed. When we come to deal with 
apparatus, we shall have something to say of a chest expander 
which may be used with advantage in the early morning in the 
bedroom. 

Before the gymnast proceeds further with his morning exer- 
cise, a draught of water and a crust will assist him materially. 
He may then try 

ExEECisE 4 (Fig. 2). — This is a very simple movement. The 
body is placed upright, with the feet together. [See Fig 2. ] 
The arms are extended and the body thrown on alternate sides 
(as shown in the above diagram) until the hands nearly touch 
the floor. This exercise will be found useful in all cases where 
any ill habit or contraction has been acquired by sedentary 
habits, as a consequence of wrong positions in sitting, writing, 
sleeping ; or where there is some natural inclination to deform- 
ity. The exercise may be continued with any aegree of force, 
and varied according to the strength of the pupil. 

ExEBCiSE 5. — By this time the pupil will Lave acquired a 
knowledge of what muscles he has, and of what use he can 
make of them. Simple as the exercises have been, it will be 
found that some of the muscles are stiff and not easily moved, 
yet it will soon wear off, and the pupil will rejoice in the free- 
dom of his limbs. He may now proceed to the "extension'' 
movements, as depicted in Fig. 3. Place the feet close togethey 



WITHOUT A MASTEB. 67 

and the toes across a straight line, so as to mark the situation 
of the feet; place the hands by the side; elevate them quickly 
above the head, and bring them forcibly and energetically 
down. [See Fig. 3. ] Close the hands, palms upwards, and 
bring the fists close to the shoulders. Drive them forth, as if 
into your inveterate enemy, and then bring them back "Ontil 
your hands are level with your sides. Bepsat each movement 
again and again — up, down, forward, backward. This exercise 
is useful to old and young, and possesses the advantage of 
being resorted to in all times and places, and brings into play 
the thoraic, dorsal, and abdomidal muscles. 

ExEKCisE 6. — Stand as in Fig. 3. Stretch out the hands 
straight at the shoulders before the body, and place the palms 
of the hands together. Now slowly seperate the hands, keep 
them at the same level, the arms straight, and try to make the 
backs of the hands meet behind you. This, to all, at the com- 
mencement, seems to be impossible; yet as the chest expands 
it becomes perfectly easy, though at first it will make the 
shoulders and chest rather stiff. 

Exercise 7. — Stand in the same position [Fig. 4.] Grasp 
the left hand with the right, bring the arms behind the head, 
and move them from one side to the other. This brings the 
pectoral muscles into play with those round the shoulder. 

ExEECisE 8. — Stand as before. Place the hands behind and 
let the palms touch, with the fingers pointing downwards as in 
Fig. 5. Now turn the fingers inward, and bring the. hands as 
high as possible up the back, taking care to keep the palms of 
the hands close together. [See Fig. 6. ] 

ExEncisE 9. — Position as before. Close the hands, draw the 
elbows back until the hands touch the sides, and move them 
backwards and forwards until they move easily. You may now 
try the circular movement, as in Fig. 7, which is one of the 
best methods of enlarging the capacities of the air cells of the 
lungs. You may strike the palms and wrists together as they 



6S MANLY EXERCISES 

pass in front Ererj ono of theso «x«rcisM eui be dona in % 
bedroom, parlor, or study. 

ExEECieE 10. — Stand as before ; bring the arms quickly in 
front as higli as the shoulders. [See Fig. 8. ] Turn the nails 
upwards, then swing them forcibly backwards, at the sams time 
turning the nails backward. Keep the body perfectly upright. 
Do this slowly many times. Stretch the arms out as in Fig, 8, 
and place the palms together, keep the arms at same level, and 
bring the hands behind you, and try to make them meet [See 
Fig. 9,] This movement ought to be tried night and morning, 
until the hands touch easily. 

ExEBCisi 11. — A very powerful metJiod of giving full play 
to the muscles of the chest, is here represented* Bring the 
right hand to the left shoulder. Extend the left arm on a line 
with the skoulder, [Fig. 10]. Throw the right arm by the right 
side, place the left arm on the right shoulder, and change the 
positions alternately several times. Then procsed to Fig, 11. 
Open the hands, raise the arms sideways, and touch the back of 
the hands straight over the head. 

The foregoing exercises all more or less tend to exercise the 
muscles of the arms, chest, neck, and to give free play to the 
respiratory organs ; they may be varied in their order, or al- 
ternated with any of the following, which call other muscles 
into play, producing at first, in some instances, a painfully de- 
lightful sensation. 

EzxBcisi: 12. — ^Amongst the old "extension" motions tangbi 
to our soldiers, are two which find an appropriate place here. 
The first practice is to stand upright, with the heels together, 
raise the arms straight upwards, the palms in front. Bend the 
body forward, as shown in tha annexed sketch, until the fingers 
touch the ground. The knees must be kept straight. [See 
Fig. 12. ] This must bo practised until a coin can be picked up 
with ease at each heel. 

ExEBCisB 13. — Take a staff or stick about three and a ha^ 



WITHOUT A MASTEE. 69 

feet long. Grasp each «nd firmly over by the hands, with the 
end of the fingers towards th« body, now raise the stick over 
the haad, keeping the elbows straight, and hands firm nntil 
the stick touches the thighs. This is a very severe but excel- 
lent exercise. , 

ExEECisB 14. — Before yon commence the following move- 
ments, strengthen the toes by raising the body on them with a 
stiff leg and straight knees as high as possible [Fig. 12.] Do it 
slowly, again and again; vary it by stepping from the toes, 
jumping from toes, keeping the knees straight and the body 
upright. Place the hands on the hips, left leg in front, toe 
towards the ground, and jump forward on the right toe. [See 
Fig. 14.] Use both legs alternately. 

ExEBCisii 15. — This will prove & somewhat difScult exercise 
at first, and will require the muscles of the legs and hips to be 
powerfiilly exerted. As you stand upright, lift the left foot be- 
hind, bend the right knee, lower the body gradually until you 
touch the ground with the left knee. Eise again; do it slowly 
with each leg in succession. 

ExEECisi 16. — Stand upright as before. Extend the right 
arm at a right angle with the body, attempt to kick the hand 
with the right foot. It cannot be done at first, and may be 
tried with each leg and foot successively. The exercise may 
be varied by attempting to kick the back of the thigh with the 
heels alternately and rapidly. A third variation of the kicking 
practice, is to kick the chest with the knee, care being taken 
that the body is upright and the chest is not bent forward. 
When proficient in these exercises, try to kick both thighs to- 
gether with both heels simultaneously. To perform the last 
feat well, a slight spring will be required. Both feet must 
come down on the same spot, and the performer ought not to 
lose his balance. 

ExEKcisE 17. — Place both feel together, and the hands on the 
hips. Kneel slowly until both knees rest on the ground, 



70 MANLY EXEECISES 

Kise again witliout removing the hands from the hips, or the 
toes from a given line. Vary this by crossing the toes. Bend 
the knees gradually until you sit down a la Turk. Kise again 
without moving the hands from the hips. Very hard this. 

ExEKCiSE 18. — You have probably found your level ere you 
have become proficient with the foregoing. Close your feet, 
estend your arms in front, bend the right knee gradually, and 
sit down in the same position. Try both legs alternately. 
This feat will at first seem a poser, but it is not so impossible 
as it at first appears. 

Exercise 19. — This is a pleasant amusement both for old 
and young, and if done properly, calls, it is said, three hun- 
dred muscles into play. Place the feet close together, put the 
hands on the hips, rise on the toes, bend the knees and lower 
the body gradually till the thighs touch the heels. Extend 
your arms in front and fall forward, not on your nose but on 
your hands and toes. Keep the knees straight and body stiff, 
as shown La Fig. 1. Now take a piece of chalk and mark with 
the right hand as far as you can. Now let your companion try 
and do the same. By a little competition and practice, it will 
be found that each trial will show an improvement in the 
length of stretch. You should spring from the ground at a 
bound, and clasp your hands as you rise. 

Exeecise 20. — Stand with your feet close together and bands 
on hips, jump \ip and spread out the legs, close them, and cross 
them alternately. 

Keep the toes pointed, or else they will come into collision 
with each other as they cross. 

Exercise 21. — A pleasant feat is to jump through the hands 
held in front of the body, with the tips of the middle fingers 
together. Be careful though of your chin or your knees will 
catch it, which is far from pleasant; heeled shoes will also come 
in contact in anything but an agreeable manner with your 
thmubs. A variation of this is to have a staff or stick about 



WITHOUT A MASTER. 71 

three feet long, and hold it with the hands about a yard apart. 
Stoop down, place your knuckles on the ground in front of your 
toes, holding tight the stick. Try and step over the stick 
without losing your grasp or moving the knuckles from the 
ground. 

ExEECiSE 22. —If you have a friend a few other simple exer- 
cises may be combined. Two other persons can sit down 
facing each other on the floor, with the soles of their feet 
touching. Then grasp a stick with their hands together, and 
pull against each other; first, with the knees straight ; second, 
with them bent; and thirdly, with the legs apart. Or they 
may stand up facing each other, with toes opposite. Take hold 
of each other's hands, lean back and go quickly round. A 
third exercise with two persons, is to place the left hand on the 
hips, with the right foot in front, lock the middle finger in each 
other's right hand, and pull backward. 

Exercise 23. — Minor variations of these elementary and 
parlor gymnastics suggest themselves, particularly if any por- 
tion of the body is not exercised by the daily avocations. 
Either arm may be advanced, and the hands turned inwards, 
upwards, and outwards. Sub-rotatory and various twisting 
motions of the body may be performed, the head may be turned 
and twisted, and carried from side to side, the body turned 
partly round at the loins, or one leg may remain stationary, 
and the other moved round as far as possible on both sides. 

The majority of these free movements are w^ell adapted foi 
schools, and may be performed by a large number at the word/ 
of command. 

EXEECISES WITH FURNITURE. 

Eee we begin with the ordinary apparatus, let us describe a 
method of domestic practice, eminently adapted for the seden, 
tary. "We believe Peter Henry Ling, the author ct •' Kinesip- 
lathy ; or, Gymnastic Cures," ia the generally recognised sug 



72 MANLY EXEECISES 

gestor of these exercises, though Young Troublesome, immot 
talized by Leech, had long ago brought them into domestic 
practice by imitating the contortionists in the cirque at Astley's. 
The chairs must, of course, be of the strong kitchen Tariety. 

Exercise 24. — Place yourself between two chairs of the lame 
height, each hand on the back of a chair, the seats of which 
are turned outwards. Eest the whole weight of the body od 
both wrists, keeping the arms extended, and raise the lowei 
part of the body into a parallel line with the wrists. [See Fig. 
20] . This position must be preserved for some seconds. Then 
allow the inferior extremities to descend gradually, and return, 
to first position. 

ExEEcisE 25. — The hands on the back of the chairs, and 
supporting the body by the wrists, as in the ftaegoing •lerclse. 
Bend the knees and descend gently, till the knees almost touch 
the ground, [See Fig. 21]. Then rise in the same manner by 
the assistance of the wrists and shoulders, and return to first 
position. 

ExEBCisE 26. — Standing between two chairs, the seats of 
which are turned inwards, place a hand om each edge, keeping 
the thumbs inwards, the knees bent, the feet close together, 
and the heels raised. Then raise the body on the wrists, and 
extend forward the lower extremities, at the same time straight- 
ening them, and thus descend gently to the ground, [See Fig. 
22]. Eise again, still keeping the lower extremities extended 
in front, and return to first position. 

ExEECisE 27. — Placed between two chairs, the back of one 
turned in and the other out, with the right hand on the back of 
one and the left on the seat of the other, gently raise the lower 
exti-emities and extend them in front ; the upper part of the 
body to remain perpendicular, and supported on the wrists. 
Then raise the lower extremities, bearing the whole weight of 
the body on the left wrist, and place both legs on the back of 
^Tap pbair by a peatl^ m^ yeguir impulse (See ^i§, aSJ. ^©r 



WITHOUT A MASTER. 73 

turn to the first position by the same means, and perform the 
same exercise on the opposite side. 

ExEBCisE 28. — A chair being fixed on the ground so as not to 
move, place both hands on the sides of its back ; then raise the 
body on the wrists, and elevate the lower extremities to a hori- 
zontal line, [See Fig. 24]. Allow the legs to descend gradually 
to the first position. 

Exercise 29.- — Two chairs being placed with the seats in- 
wards, put the right foot between them, the left knee to be bent 
towards the floor, both hands fixed on the edges of the seats, 
and the right knee supporting the body. Then endeavor to 
bring the lips to the floor by extending the left knee and allow- 
ing the right to go to the floor. [See Fig. 25] . Eise by a con- 
trary movement, and return to first position. Repeat exercise 
with the left side. 

Exercise 30. — An arm-chair being placed in the middle of 
the room, place yourielf facing the seat, with a hand on each 
arm of the chair, and raise the body on the wrists, at the same 
time raising and crossing the legs ; then pass them forward 
betvreen the arms, straightening the knees, and carry them over 
the back of the chair without touching it. Repeat this exercise 
many times, until the muscles of the upper part of the body 
are strong enough to accomplish it with ease. [See Fig. 26]. 

Exercise 31. — (With a bench.) First place yourself upright 
on the bench, with the toes close together on its edge; then 
allow the body to descend gradually by bending the knees and 
supporting its weight upon them. 

The elbows must be kept close to the body, the forearm ex- 
tended and the fiat doubled ; then rising gently return to first 
position, [See Fig, 27] ; repeat several times. (Second. ) — Being 
seated across the bench or form, fix a hand on each Bide and 
raise the body on the wrists, the knees bent and raised to the 
height of the hips, the body to lean forward, and in this posi- 
tion move aloi^ the form to the end ; then make the sam^ 
Sjoyenjeut Iback again, fSee Fi^. 28], 



74 MANLY EXEBCISES 

ExEECiSE 32. — Place both heels together, bend the body and 
knees, with the elbows close to the body ; then rising and exr 
tending the arms behind, and inclining the body forward, by 
means of a strong impulse, take a jump, at the same time car- 
rying the arms forward and descending on the toes, taking care 
to bend the knees. Bepeat many times. This exercise can be 
performed with very little space. 

Exercise 33. — A table, four or five feet wide, being placed in 
the middle of the room, the individual stands seven or eight 
feet from it ; then take a run, with the right foot foremost, and 
when near the table, put the hands on the center of it, with the 
right in front and the left behind ; by a strong impulse he must 
then raise the body by the strength of the arms and jump to 
fche other Bide of the table, with his feet together and the knees 
bent. 



BALANCING. 

An essential feature in gymnastics is the preservation of the 
equilibrium of the body, [See Fig. 29]. If we try to balance 
with one hand a small stick, feather, or other object, we find 
how easy it is by a little judicious arrangement of a few dex- 
terous movements to prevent it falling. If we apply the same 
faculties to the body, we acquire hardihood, presencs of mind, 
and justness of eye; and a readiness at avoiding a fall by leap- 
ing. In exercising one's self in balancing, it is usual to com- 
mence standing on one leg alternately until it can be done with 
ease. When a man stands in an ordinary ^.^osition the center 
of gravity passes down the spine between the feet, and of course 
every movement of the body changes the center of gravity ; it 
is never fixed. The body bends forward on one side according 
to the weight it bears on the other. A pole is used by profes- 
sional balancers, thour'i some of the best feats are to be done 
by the mere use of the arms and body without mechanical help. 

After a steady balance can be kept on one 1% on the ground, 
the gjrnmast passes to the edge of a briek or a pole lying on th^ 



WITHOUT A MASTEE. 



75 




76 MANLY ErEBCISES 

grotuid before he monnts either the parallel or horizontal bar. 
There are several ways of mounting a bar if it is no higher than 
the knoe or thigh: the foot is placed on it, the hands are extend- 
ed in front, and the body gradually raised. Another method is 
to sit astride on the bar, and with a sudden spring bring both 
feet on to the bar, the feet crossing each other at the heels, at 
the same time raising the body to an npright position. Un- 
less a good balance is kept it cannot be done, [See Fig. 40, 

OF THE PAEAIiLEL BABS. 

"We are now out of doors, and we will try our strength and 
skill on the parallel bars. They are formed of two pieces of 
wood, from six to eight feet long, four inches square, rounded 
at the top, so that the hand' will rest on them easily. About 
eighteen inches apart and four feet high will be found to be the 
most convenient, but they may be fixed and varied at pleasure. 



34. — (First position, Fig. 36.) Place yourself be- 
tween the bars in the center, put your hands on the right and 
left bars at the same time. A slight spring will raise the body 
on to the wrists. The legs must be kept close. The first posi- 
tion may also be obtained by an upward spring, and then place 
the hands on the bars. After the wrists become accustomed 
to the weight and position of the bars, try "The "Walk." Use 
your hands instead of your feet to move to and fro. It is not 
difficult, but tiresome. It mast be done regularly, with the 
head above the shoulders. The weight of the body must be 
kept on the rigid arm, while the other moves forward. The 
Swing may next be performed. Communicate to your body a 
gentle movement backwards and forwards, until it moves freely; 
the kneei straight, and the feet touching each other. The 
swing may be increased, until in both the backward and for- 
ward movement the legs are nearly upright over the head, the 
arm-sockets forming the pivot. 

ExEECisE 35. — (Bising and Sinking.) Being in the first po- 
sition, place the legs backwards, the heels close to the upper 
part of the thighs. Lower yourself gently from this position. 



% 



MANLY EXERCISES ^^ 

until your elbows nearly meet behind the back. Eemain in 
this attitude a short time, then rise gently, carefully avoiding 
touching the ground with your feet. You may vary this exer- 
cise by sinking gradually down as before, and kissing the bar 
oehind each hand alternately. This is a graceful movement, 
but do not spoil it by touching the ground with your knees. 
[See Fig. 36]. , 

ExEEcisE 36. — A good and useful position is the Letter L, as 
it is fancifully called, [See Fig. 37. ] The legs are drawn up 
at right angles with the body, while the knees are kept straight. 
It may be varied by the hands being clasped outside the bars 
whilst standing on the ground and forming the same figure 
underneath the bars ' 

ExEKCisE 37. — The gymnast will now be able to vary the 
preliminary exercises by throwing his legs over either bar whilst 
swinging [Fig. 38], and sit on the bar, or he may give himself 
a greater impetus and throw himself entirely over the bar on to 
the ground. He may proceed along the bar by a series of 
jumps with the hands more or less quick ; or he can drop on 
the forearm, and let the elbow and wrist be supported by the 
bar, and swing in that position, [See Fig. 39]. Eise and drop 
into that position until it can be done surely and without effort. 
A nimble movement is to take the right hand from its position 
and to touch the left-hand bar with the right hand. Try the 
same movement with the left hand, and when it can be done 
easily try and perform the same movement by passing the hands 
behind the back in touching the bars. 

EsEBCisE 38. — Several pretty feats on the parallel bars re- 
quire some little agility, but if the elementary free movements 
have been practiced they can easily be performed. To stand 
on the bars you must secure a good balance whilst astride one 
of the bars [See Fig. 59]. The sole of one foot may now be 
placed on the bar, and the toe of the other foot slipped under- 
neath it. By means of this toe draw yourself to an upright po- 
sition, and bring both feet together [See Fig 40.] To do thii 



^s 



73 WITHOUT A MASTER. 

properly you will have to practice balancing, as before de- 
scribed, or you may get an ugly fall. Stand in the first posi- 
tion, throw one leg over each bar, and rest your hands on the 
bar behind the legs. Eemember your swinging practice. Dis- 
engage the feet, swing boldly through the bars, and when your 
legs are fairly through the bars extend them and seat yourself 
astride with your face in the opposite direction. Swing at one 
end of the bars, and when in full course spring forward, catch 
the bars with the hands, when the body, if it is gracefully done, 
will be in the position of the lowered body, [See Fig. 36.] If 
not done carefully, beware of how you fall. The curling move- 
ment commences with the second style of the Letter L. [See 
Pig. 41.] Count eight or ten, then turn slowly over, keeping 
the knees straight until you hang in reverse. Come slowly 
back, until you assume the original position. Another good 
movement is to slide the hands forward and the legs backward; 
put the toes over the bars until you form the "Indian Cra- 
dle, [See Fig. 42]. This does not give a pleasant sensation. 
After a short interval draw yourself up again. These exercises 
are not necessarily performed m the order given. They may 
be varied almost ad infinitum. 



CUMBING. 

Exercise 39. — ^Procure a stout board, and according to its 
length set it against the wall at an angle of from 30 o to 45 ^ . 
Seize both sides of the board, place the feet flat in the center, 
and ascend by moving hands and feet, in short steps, alter- 
nately, [See Fig. 44.] This exercise throws great stress on the 
muscles of the loin and back, as well as the extensor mus- 
cles. A pole may be ascended in the same manner, but care 
must be taken that the shoes are not slippery. This movement 
can be performed in a room. 

ExEBCisE 40. — Procure a ladder, and raise tie body by seiz* 
ing hold of the ruadles alternately underneath [See Fig. 44.] 



MAJSTLt ZEROISES 79 

Bring the elbow of the lower arm sharp to the side, previously 
to pulling up the body by the other. The le^'s should be kept 
as close as possible. 

Exercise 41. — In climbing up a scaffold or other pole, which 
may be done by grasping it by both hands, the right above the 
left, the legs should alternately grasp the pole in the ascent 
by means of the great toe, which is turned towards the pole, 
[See Fig. 45.] In descending be careful not to come down too 
fast. The friction must be thrown on the inner part of the 
thighs, and the hand left comparatively free, [See Fig. 46. ] In 
climbing trees care should be taken to use the hands more than 
the legs, and great caution should be used in laying hold of 
withered branches, or they may suddenly give way. Try each 
branch separately with the hands* in going up, and with the 
feet in going down, ere you trust your body to it. 

ExEECisE 42. — Eope climbing is an excellent as well as most 
useful exercise. It is comparatively easy to climb a knotted 
rope, or one in which short cross pieces are inserted, but the 
true gymnast despises such aids, and pulls himself up by his 
hands alone, [See Fig. 47. ] But ere he can attain this dexter- 
ity he nanat make use of his feet somewhat. A sailor passes 
; ' 3 rope from the hands between his thighs, twists it round 
one leg just below the knee and over tha instep, as shown in 
Fig. 43. The other foot presses on the rope, and thus a firm 
hold is secured. When descending beware of letting the rope 
slip, or the skin will be torn from the flesh, [See Fig. 49.] Put 
one hand under another. Some clever climbers descend head 
foremost, and this is by no means difficult, as the rope is held 
by the feet, [See Fig. 50.] 

ExEBCisE 43. Seize the rope about a yard from the ground, 
and run with it as far as you can. Let go and swing yourself 
forward, marking the spot where the toes touchthe ground ; 
but this leads us to — 



So WITHOUT A MASTEE. 

THE GIANT STEIDE. 

This curious piece of gymnastic furniture is familiar to most 
schoolboys. It is liko a gigantic umbrella stick, with ropes in 
place of the familiar whalebone and gingham. This * ' flying 
step" is generally much abused : the boys run round it instead 
of taking flying jumps over a ten foot pole, to set the blood 
aglow; and perform a series of evolutions which for grace and 
agility would make a poor dyspeptic patient blush for shame. 
The ropes attached to the revolving iron cap should be fitted 
with a stout cross-bar of elm or ash, about two feet in length. 
Hold these staffs at arms' length, and run round the pole until 
the whole body assumes the same line as the rope, and the feet 
touch the ground only at intervals. Practice this from left to 
right and right to left. When the plain circle can be done with 
ease, try a series of smaller circles with the feet whilst going 
round the pole. A string from the upright may be passed out- 
side at various heights, which may be leaped by the mere action 
of the centrifugal force, as high as ten feet, easily by a boy. 
- Be careful, however, not to lose your balance ! 



ON THE HOEIZONTAL BAE, 

Evert one knows what a horizontal bar is, and its construc- 
tion. One of the best of many modes of construction, particu- 
larly where the space is limited, is to have two strong up- 
right posts firmly fixed in the ground, from fourteen to sixteen 
feet high, fitted with mortice holes to admit the horizontal bar. 
One of the posts should be fitted with notches to allow the 
gymnast to reach the top easily or to descend. [See Fig. 51.] 
The bar at first should be placed just out of reach of the hands 
of the gymnast, that a small spring is necessary to grasp it. 
Many of the feats on the horizontal bar here described may be 
performed on a swinging bar, [See Fig. 52, ] as proficiency is 
attained. At first the bar should be firm, and the gymnast 
should grasp it with the haod, no^ with the thumb and finger, 



MANLY EXERCISES Si 

The thumb should rest by the side of the fingers, which should 
assume a hook-like form. 

ExBBCisE 44. — The first exercise is to hang on to the pole, 
the body remaining loose and straight in a natural position. 
Gradually let the body hang by one hand until the arms are 
accustomed to the weight of the body. Be cool, and do not 
twist, or down you will come. When the arms are used to the 
weight of the body, attempt to walk along the pole, moving 
first one hand and then the other. The body must be kept as 
still as possible. You may vary this by placing one hand at 
each side of the bar [See Fig. 53.] It will soon become easy. 

Exercise 45. — Seize the bar with both hands and attempt to 
raise the body up to the bar until it is on a level with the breast 
[Siee Fig. 54. ] Lower yourself gradually, and continue the exer- 
cise until it is easy and familiar. A good gymnast can do this 
a dozen time successively without experiencing fatigue. "When 
it can be done easily the body may be raised to the full extent 
of the arm. This exerts the muscles powerfully, and requires 
a strong effort. 

ExEECiSE 46. — Now try the swing by the hands on the bar. 
tt gives ft peculiar sensation, but you soon become accustomed 
to it. When at the swing, accustom yourself to let go the bar 
wad spring forward or backward on to the feet. 

ExEBCisE 47. — Eaiso the body as high as possible, throw the 
arms over the bar, holding firmly by them, [See Fig. 55.] 
This relieves the pressure on the wrists, and is a very useful ex- 
ercise, particuiarly when the body is raised from the ground 
and is held up by one arm. To do this, however, the arm must 
be passed underneath the bar, which must be pressed firmly 
between the hand and shoulder [See Fig. 56.] Each arm 
should be tried alternately. 

ExEKCTSE 48. —After raising yourself to the full extent of the 
arms, change your hands, and curl over the bar, dropping 
lightly on to the feet [See Fig. 57.] The changing hands is to 



mrnom a masteb. 





p 



Q 
I— I 

i 




MANLY EXEKCISES 83 

reverse the position of the finger points on the bar, and in this 
instance they must be turned towards the body. 

ExEBCiSE 49.— (Kicking the Bar)— [See Fig. 59.] This feat 
is performed by hanging by the hands and drawing up the feet 
until the instep touches the pole. The head must be thrown 
^well back, to counter-balance the legs and feet. Do this slowly, 
and beware of unnecessary jerks and strains when this can be / 
easily accomplished. 

ExEKCisE 50. — May be tried. The legs are raised as in the 
kicking bar, but the feet are passed underneath the pole until 
the body hangs down with the arms twisted. The gymnast 
may drop on to the ground after this, or he may try to bring 
the body and legs back again. This will be found very difficult 
to all but the young and very supple. The strain on the twisted 
arm is very great. 

ExEBcisB 51. — A series of movements to sit on the bar are 
thus performed. When hanging on the bar, [See Fig. 53], 
pass one foot between the hands as in kicking the bar. Hitch 
the leg over the bar, the other leg must hang as low as possible. 
Give a swing backwards and come up right on the bar. The 
other leg can be brought over so as to sit on the bar [See Fig. 
58.] The same attitude is often assumed by passing both feet 
under the bar and stretching them straight into the air until 
the head points to the ground, and the heels to the air. Draw 
yourself upwards until the weight of the legs and feet bring you 
upon the bar seated. In both these movements the beginner 
generally overbalances himself. You may leave the bar when 
seated on it in two ways. One of which is to put the hands on 
the bar with the finger points forward, slide backwards, keeping 
the knees bent, roll over backwards, and come down on the 
feet. The second is the vaulting practice. Place both hands 
on one side, with the fingers away from the body, then with a 
slight spring bring the feet oyer the pole and vault to the 
ground. 



84 VriTHOUT A MASTEP.. 

ExEECisE 52. — Hitch one leg over the bar and liold on with 
the hands, one on each side of the bar. Now give a swing 
backwards until you can give yourself such an impetus as to 
come right round the bar into the same position [See Fig. 60. ] 
Try the same movement with different logs and with both hands 
on one side of the bar until you can do it a dozen times with- 
out stopping. The hands may be placed on each side of the 
bar, and the legs raised on each side and crossed above the bar, 
[See Figs. 61, 62. ] Now try and spin round the bar like a fowl 
on a spit; when you can do this easily try the reverse way, bring 
the legs backward over the bar and spring in the Indian Cradle 
position, [See Fig. 63.] This is very difficult. 

ExEECisE 53. — Form the Letter L, as on the parallel bars, 
count fifty before you drop. Bring the feet through the arms, 
keeping the knees straight all the time. Place one hand on 
each side of the bar, form Letter L, then bring the legs up- 
wards and repeat the movement as before, but keep the arms 
inside the legs, as in the Fig. 64. 

ExEBCiSB 54. — Sit on the bar, point the fingers to the front, 
grasp the bar firmly on each side, let your body sHde forward 
until the bar crosses the small of the back, and the elbows pro- 
ject upwards. Draw yourself back again and resume the sit- 
ting position. Sit on the bar as before, then suddenly slide 
backwards and drop, catching yourself by your bent knees. 
Be careful to drop perpendicularly, and do not communicate 
any movement to the body. "When this can be easily done, 
first one leg and then the other may be unhooked. The re- 
leased leg may be thrown over the instep or hang loosely. 
When the beginner feels confidence he may hitch both insteps 
over the pole, forcing the toes upwards. Loosen the hands 
from the pole and let the body hang perpendicularly. Drop 
on to the ground on the hands and spring to the feet. 

ExEECisE 55. — Two difficult movements are called the 
"trussed fowl," and the "true lover's knot." To perform the 
first, you hang on tjje bar, draw up the feet and place the in- 



^ MANLY EXERCISES S^ 

Steps against the bar. Push the body through the arms and re- 
main in that position as long as you can. The latter is a school- 
boy's trick, and very difficult to do. Grasp the bar, pass the 
left knee through the right arm until the inside of the knee 
rests against the inside of the right elbow. Now pass the right 
knee over the instep of the left foot, let go the left hand, and 
with it grasp the right foot. You will now hang by the right 
hand in an attitude that professional tumblers can seldom 
assume. 



THE WOODEN HOESE. 

Every one likes the exercises on the wooden horse. The ap- 
paratus is easily made. R only requiras a piece of the trunk of 
a tree, barked and smoothed, firmly fixed on four posts, or legs, 
so that it cannot be easily pushed ofer. It should be the 
height of the gymnast's nose. A little nearer one end than the 
other, a rough, stout saddle should be placed, with the wooden 
pommels covered with common leather. The hind pommel 
ahould be rather higher than the other. On the off side of the 
horse, a sawdust bed, some four feet square, should be made, 
on which the gymnast may alight after he jumps. On the near 
side a spring board is desirable, but not essential. A slight 
covering of sand on the near side is, however, absolutely neces- 
sary to avoid slips in taking the leaps. 

ExEECiSE 56. — Commence by standing on the/ ear side of the 
horse with one hand on each pommel. Spring up, bring the 
arms straight, until the body is supported by the hands, and 
the knees rest against the body of the horse. Spring lightly 
down on the toes, and continue to practice this until it becomes 
easy and natural. Then jump a little higher, throw the right 
leg over the saddle, removing the hand, and you are mounted. 
Practice mounting both ways. To dismount, place the left 
hand on the fore pommel, and the right hand on the saddle. 
A slight raising of the body, and you can throw yourself off 
easily. Endeavor also to sustain the body by the hands and 



86 WITHOUT A MASTEE. 

arms, whilst the feet are off the ground, by throwing yourself a 
little way from the horse, so as to prepare yourself against the 
restiveness of a real nag. 

Exercise 57. — Now then for the knees. Place your hands 
on the pommels, leap up and place the right knee on the saddle 
[See Fig. 62. ] Down again, and up with the left knee on the 
saddle, when you can do it well and quickly by both knees, 
but beware of going over. To avoid this by no means uncom- 
mon occurrence, practice leaping with both knees on to the 
saddle, and then lean forward, make a spring and clear the 
legs from the saddle, and come to the ground [See Fig. 63. ] 
Your motto in this, as in many other feats, should be " dare 
and do." 

ExEECisE 58. — Mount and seat yourself behind the saddle. 
Place the left hand on the fore pommel and the right hand on 
the hurdle. Swing the body completely round, so as to seat 
yourself before the saddle. Change hands, and bring yourself 
into the position from which you started. You may vary this 
as follows : "When mounted, place both hands on the front 
pommel. Swing yourself as high in the air as you can. Cross 
both legs whilst doing so, and twist the body so as to seat your- 
self again on the saddle, but looking in the opposite direction. 
Try the reverse action, and resume your original position. This 
is more astonishing than useful. Other feats are performed on 
the horse, — as vaulting, leaping on to the saddle with one hand 
on the pommels, and turning somersaults over the sadd'e, 
jumping through the arms [See Figs. 64 and 65, ] leaping on to 
the horse as if it had a side-saddle on [See Fig. 66 ; ] but these 
do hot require any special directions. Fig. 67 represents the 
back vault. 



LEAPING AND YATTLTING. 

59. — Leaping was a favorite exercise of the Greeks, 
and is one of the most useful of the gymnastic exercises. It 
admits of great variety. There is the standing jump, the 



MANLt ESEECISES S7 

jump over the hurdle, bar rod, string, or cat-gallows. Leapers 
raise the feet and knees in the straight direction, not separating 
the legs. "She body should bo inclined forward, the run not 
too long, and in coming to the ground the fall should not be on 
the heels, but on the toes and soles of the feet. This is of 
great importance. Unaided by a pole or other implement, a 
man can jump at best something short of Ms own height. In 
a low jump the knees are raised with the spring of the body, 
but in higher leaps the legs must be kept well under the body. 
In leaping from a height the balance should be well preserved, 
as there is a tendency to come down on the nose. In leaping 
upwards the body must be kept well forward, as there is a ten- 
dency in this instance to fall backwards. In long leaps, the 
inexperienced generally throw the body over, instead of jump- 
ing feet foremost and recovering their balance by the spring of 
the body. 



VAULTING. 

ExERcasB 60.- -To vault with grace and agility is a nice and 
useful accomplishment. The nands should be placed on the 
object, and the body and the legs thrown over it, as illustrated 
by the exercises on the M'oodeu horse. Vaulters can throw 
themselves over a height of five feet six inches to six feet. 

Pole leaping is now becoming much in vogue. The pole 
should be strong enough to bear the weight of the leaper with- 
out bending, and sound enough not to fracture at the critical 
moment. The pole for beginners need not be more than seven 
feet long, and an attempt should be made to spring short dis- 
tances with it. The hands should not be placed higher than 
the head, the right hand at the top, and the left hand may be 
placed in the most convenient position. The spring must be 
taken from the left foot at the instant the pole touches the 
ground, and a short run may be taken to give the necessary 
impetus. Now, in our school-days, we always held the pole 
until the ground was reached, and of course came down with 



88 



WITHOUT A MASTER 






XTL 



c?=i 



3 




MANLY EXEECISES 89 

our face towards the spot from whence we started. But since 
that period high and perpendicular leaps are taken over a six- 
feet and higher bar, and the pole is left behind. Care must be 
taken to place the hands high enough, and to have the end of 
the pole pointed, so that it will remain sticking in the ground. 
By letting the pole go as the body goes over the bar, the leaper 
descends straight forwards as in an ordinary jump. "When you 
loose the bar, push it behind so as to make it fall backwards. 
As the leaper goes over the bar, the knees must be bent, so that 
on touching the ground they will form a spring, and the force 
of the fall is broken. 

"With a light pole and low jump, it is sometimes carried over. 
In long leaps, as much as eight or ten yards may be cleared 
Leaps from a height may be practiced, always bearing in mind 
that the pole must bear your weight, and that on reaching tha 
ground the knees be bent for the spring. 

K these directions are followed, you may attain nealth and 
agility though you may not attain the skill of leaping over a bar 
upwards of eleven feet in height, or emulate the professional 
gymnast on the "bar," "wooden horse," or " swing poles." 



THE A. B. C. OF SWIMMING. 

THE USES OF SWIMMING. 

"We need scarcely say that every one ought to know how to 
swim. There is not a man, woman, or child in the country 
that cannot, and ought not to learn how to swim. There is no 
absolute necessity for learning the various aquatic tricks which 
are performed by masters and mistresses of the art, but there is 
a necessity that all should know how to support themselves in 
the water. 

There is, perhaps, no athletic exercise which is so easily 
learned, which is so well adapted to both sexes of all ages, 
and yet so little known. 



9d MANLY EXEBCISES 

HOW TO BEGIN. 

The first care of the intending swimmer is, of course, to firwi 
a proper piece of water in whicli to learn Ms first lessons. The 
very best water that can be found is that of the sea, on account 
of its saltness and bitterness, whereby two great advantages are 
obtained. 

The first advantage is, that, on account of the salt and other 
substances which are dissolved in it, the sea water is so much 
heavier than fresh, that it gives more support to the body, and 
enables the beginner to float much sooner than he can expect to 
do in fresh water. 

The other advantage is, that the taste of the sea water is so 
nauseous that the learner takes very good care to keep his lips 
tightly shut, and so does not commit the common error of 
opening the mouth, which is fatal to all sA^dmming, and is sure 
to dishearten a beginner by letting water get down his throat 
and half choke him. 

As to place, there is nothing better than a sloping sandy 
shore, where the tide is not very strong. In some places the 
tide runs with such force, that if the beginner is taken off his 
legs, he will be carried away, or at least that he will have great 
diiSculty in regaining his feet. 

"We strongly recommend him to walk over the spot at low 
water, and see whether there are any stones, sticks, rocks, or 
holes, and if so, to remove all the moveable impediments and 
mark the position of the others. 

Take especial care of the holes, for there is nothing so treach- 
erous. A hole of some six or seven inches in depth and a yard 
in diameter, looks so insignificant when the water is out that 
few persons would take any notice of it. But, when a novice 
is in the water, these few inches make just the difference be- 
tween safety and death. 

On sandy shores, the most fertile source of holes is to be 
found in large stones. They sink rather deeply into the sand 
and form minature rocks, round which the water courses as tha 
tides ebb and iflow, thuit cutting a channel completely round 



WITHOUT A MASTEE. 9i 

the stone. Even when the stone is removed, the hole will re- 
main unfilled throughout several tides. 

The next best place for learning to swim is the river with a 
fine sandy bed, clear water, and no weeds. Since that extraor- 
dinary river weed has sweep throughout our canals and rivers, 
it is extremely difficult to find a stream that is free from weeds. 
However, it will be easy enough to. clear a sufficient space in 
which a learner can take his first lessons. 

"When such a spot has been found, the next care is to exam- 
ine the bed of the river and to remove very carefully everything 
that might hurt the feet. If bushes should grow on the banks, 
look out carefully for broken scraps of boughs, which fall into 
the stream, become saturated with water, sink to the bottom, 
and become fixed with one of the points upwards. 

If human hibitations should be near, beware of broken glass 
and crockery, fragments of which are generally thrown into the 
river, and will inflict most dangerous wounds if trodden on. If 
the bed of the stream should be in the least muddy, look for 
mussels, which lie imbedded almost to their sharp edges, that 
project upwards and cut the feet nearly as badly as broken 
glass. 

Failing sea or river, a pond or canal is the only resource, and 
furnishes the very worst kind of water. The bed of most 
ponds is studded with all kinds of cutting and piercing obj'^cts, 
which are thrown in by careless boys and remain where they 
fell. Then, the bottom is almost invariably muddy, and the 
water is seldom clean. Still, bad as is a pond, it is better than 
nothing and the intending swimmer may console himself with 
the reflection that he is doing his duty, and with the prospect 
of swimming in the sea some time or other. 

Of course, the large public baths possess some of the draw- 
backs of ponds, but they have at all events the advantage of a 
regulated depth, a firm bank, and no mud, 



92 MANLY EXERCISES 

CONFIDENCE THE ESSENCE OE SWIMMING. 

As THE very essence of swimming lies in confidence, it is al- 
ways better for the learner to feel secure that he can leave the 
water whenever he likes. Therefore, let him take a light rope 
of tolerable length, tie one end to some firm object on the bank, 
and let tho rest of the rope lie in the water. Manilla is the 
best kindtof rope for this purpose, because it is so light that it 
floats on the surface instead of sinking, as is the case with an 
ordinary hempen rope. 

If there is only sand on the shore, the rope can be moored 
quite firmly by tying it to*the middle of a stout stick, burying 
the stick a foot or so in the sand and filling up the trench. 
You may pull till you break the rope, but you will never pull 
the stick out of its place. If you are very nervous, tie two 
sticks in the shape of a cross and bury them iij like manner. 

The rope need not be a large one, as it will not have to sustain 
the whole weight of your body, and it mil be found that a cord 
as thick as an ordinary washing line will answer every purpose. 

On the side of a stream or pond, tie the rope to a tr®e, or 
hammer a stake in the ground. A stake eighteen inches in 
length, and as thick as an ordinary broomstick, is quite large 
enough. Hammer it rather more than two-thirds into the 
ground, and let it lean boldly away from the water's edge. 
The best way of fixing the rope to' it is by the " clove nitch." 

Now, having your rope in your hand, go quietly into the 
water backwards, Tieeping your face towards the bank. As soon 
as you are fairly in the water, duck completely beneath the 
surface. Be sure that you do go fairly under water, for there 
is nothing more deceptive than the feel of water to a novice. 
He dips his head, as he fancies, at least a foot beneath the sur- 
face ; he feels the water in his nose, he hears it in his ears, and 
thinks that he is almost at the bottom, when, in reality, the 
back of his head is quite dry. 

The best way of ** ducking" easily is to put the left hand on 
the back of the head, hold to the rope with the right hand, and 
then duck until the left hand is well under water. 



WITHOUT A MASTEB. 93 

The learner should next accustom himself to the new ele- 
ment by moving about as much as possible, walking as far as 
the rope will allow him, and jumping up and down bo as to 
learn by experience the buoyancy of the water. 

Perhaps the first day may be occupied by this preliminary 
process, and on the second visit the real business may begin. 



NECESSITY FOR A GOOD BEGINNING. 

In swimming as in most other pursuits, a good, beginning is 
invaluable. Let the learner bestow a little care on the prelim- 
inaries, and he will have no bad habits to unteach himself after- 
wards. It is quite easy to learn a good style at first as a bad 
style, although the novice may just at the beginning fancy that 
he could do better by following his own devices. 

The first great object is to feel a perfect confidence in the 
sustaining power of the water, and according to our ideas, the 
best method of doing so is by learning to fioat on the back. 

We will give a separate paragraph to the important point 
of floating on the back : 

To take care that the cord is within easy reach, so that it 
may be grasped in a moment, should the novice become ner- 
vous, as he is rather apt to do just at first. Take it in both 
hands, and lay yourself very gently in the water, arching the 
spine backwards as much as possible, and keeping the legs and 
knees perfectly straight and stiff. 

Now, press the head as far back as possibly can be done, and 
try to force the back of the head between the shoulder blades. 
You can practice this attitude at home, by lying on two chairs 
and seeing whether your attitude corresponds with that which 
is given in the illustration. 

When you have thus lain in the water you will find that you 
are almost entirely upheld by its sustaining power, and that 
only a very little weight laid in the water. On reflection, you 
will also discern that the only weight which pulls on the rope 
is that of your hands and arms, which are out of water, and 
which, therefore, act as dead weight. 



94 MANLY EXERCISES 

Indeed, you might just as well lay several iron -weiglits of a 
pound each upon your body, for the hands and arms are much 
heavier than we generally fancy. Just break an arm or a leg, 
and you will find out what heavy articles they are. 

Now, let your arms sink gradually into the water, and you 
will see that exactly in proportion as they sink, so much weight 
is taken off the rope ; and if you have only courage to put them 
entirely under water, and to loose the rope, your body will be 
supported by the water alone. 

These are facts, but we may as well have reasons. 

Bulk for bulk, a human being weighs considerably less than 
•vrater, i. e., at the temperature of ordinary sea or river water. 
Now, as the lighter substance will float in the denser, it follows 
that the human body will float in water. If a dead body be 
flung into the watei, some part of it will float above the sur- 
face until the lungs get choked up with water, and so the whole 
body is much heavier than it ought to be. 

Now, supposing that a living person in a fainting condition, 
and, therefore, unable to struggle, were to fall into the water 
some part of the body would remain above the surface. But 
as the head, which is one solid mass of brain, muscle, and bone, 
is much heavier than water, it follows that the head would hang 
down in the water, and the shoulder-blades would appear above 
the surface, being buoyed up by the air-filled lungs. The 
hands and arms, of course, follow their natural inclination, 
and fall forward, thus turning the body on its face. 

Then this is the natural position of a living human being in 
the water, provided that he does not attempt to struggle or alter 
his position. And the knowledge of this fact is the key to all 
swimming on scientific principles. 

A considerable part of the body remains above the water, but 
it is the wrong part, as far as the preservation of life is con- 
cerned. "We want to breathe, and it is very clear that we can- 
not breathe through our shoulders. Therefore, the first point 
in swimming is to reverse the natural order of things, and to 
bring the nostrils above the surface of the water. 

The mouth may be set aside altogether, because there is no 



WITHOUT A. MASTEB. 



95 






I 







ea 



63 



64 




QU THE WOODEN HOBSE. 



9^ MANLY EXHRCISES 

necessity for that apperture iu swimming. It is meant foz 
eating and for talking, but was never intended for breathing, 
which is the only function a swimmer regards. 

Swimming, therefore, resolves itself into the ability to keep 
the nostrils above water, and the difficulty lies in the fact the 
nostrils are set in the heaviest part of the whole body, and that 
which is absolutely certain to sink below the siirface unless 
continual efforts are being made to keep it in its right position. 

On looking at the illustration it is evident that the simplest 
method of obtaining this object is to reversa the entire position 
of th« body. Let, therefore, the learner be on his back, let 
him arch the spine in directly the opposite direction, and bend 
the head backwards instead of letting it hang forwards. 

The result of this change of posture will be at once apparent. 
The heaviest part of the body, the back of the head, will be 
partly supported by the water, and partly by the air which fills 
the lungs. The nostrils will then become the lightest part of 
the body, and will, of course, be above the surface when the 
remainder is submerged. 

Practically, the bather will find this result. If he will as- 
sume the attitude which has been thus described, and will be 
content to keep his lips tightly shut, and his limbs perfectly 
istill, he will find that when he takes an inspiration the face 
will rise almost entirely out of the water. At each expiration 
tho face will sink as far as the eyebrows and the lower lip, but 
no farther, the nostrils being always left free for the passage of 
air to the lungs. 

j Any one who will give this plan a fair trial will gain more 
real knowledge of swimming in an hour than can be obtained 
in a year by mere practical teaching. So powerful is the 
buoyancy of the water that if any one, whether he can swim or 
not, will lie in the attitude that has been described, and will 
not stir hand or foot, he cannot sink if he tries. A cork will 
pink as soon fis he. 



WITHOUT A MASTER. 



97 




3 WITHOUT A MASTEK. 

THE SIDE STEOKE. 

We now come to that particular stroke -which, in our opinioi^ 
and lu that of most professional swimmers, is by far the moU; 
valuable. 

This is the celebrated side stroke, so called because the 
swimmer lies on his side. 

There is no stroke that enables the swimmer to last so long 
as it does, and for this reason : instead of employing both arms 
and legs simultaneously in the same manner, the side stroke 
employs them simultaneously but in different manners ; so that 
when the swimmer is tired of exercising one side he can just 
turn over and proceed with the other, the change of action 
resting the limbs almost as much as repose would do. Mr. 
Beckwith, the ex-champion of England, who held the belt for ] 
so many years, always employed the side stroke when swim- | 
ming his matches, and the present champion follows his exam- i 
pie. Indeed, out of all the professionals, there is scarcely one ; 
in twenty who adopts the old-fashioned breast stroke. 

The side stroke is thus managed. 

The swimmer lies on his right side, stretching his right arm ^ 
oat as far as he can reach, keeping the fingers of the right hand ^ 
quite straight and the hand itself held edgewise, ^o as to cut 1 
the water like a shark's fin. The left hand is placed across th« ; 
chest, with the back against the right breast, and the swimmer ] 
is then ready to begin. 

He commences by making the usual stroke with his legs, and \ 
the right Irg, being undermost, doing the greater share of the jj 
work. Before the impetus gained by the stroke is quite ex- i 
pended, the right arm is brought round with a broad sweep, j 
until the palm of the hand almest touches the right thigh. At i 
the same moment, the left hand makes a similar sweep, but is 1 
carried backwards as far as it can go. • 

The reader will see that the hands act directly upon the wa- | 
ter like the blades of a pair of oars, and do not waste any of J 
their power by oblique action. ' j 

In ordinary swimming we seldom use the left arm, but allow j 



MANLY l^XERCISES 99 

it to hang quietly in the water, so that it maybe perfectly ready 
for work when wanted. . Then, after some little time, we turn 
round, swim on the other side, and give the left arm its fair 
share of labor. 

There is a modification of swimming on the side, which is 
sometimes called tLnisting. iind sometimes the Indian stroke, 
because the North American Indians generally employ it. 

These terms are rather vaguely employed, but the former is 
generally used when the swimmer thrusts his arm forward, and 
the latter when he swings it. 

In performing this pt ■z^, ^,110 swimmer starts upon his right 
side, and sweeps his right hond through the water as above 
mentioned. While that arm is passing through the water, the 
left ?-vm is swung just above the surface with a bold sweep, the 
hand dipping into the water when the arm is stretched to its 
utmost. This movement brings the body over to the left side 
when the two hands change duties, the left being swept under 
the body while the right is swung ^forward. 

This is rather a showy style jof swimming, but we do not 
think very much of it It certgiinly propel? the 8wimmer with 
great rapidity for a time, but it requires so much exertion that 
he is sure to tire before very long. We recollect seeing a race 
for a silver cup, in which the merits and defects of this stroke 
were well shown. The swimmer shot ahead of all his compet- 
itors with ease, and if the course had been a short one, he 
would quickly have won. 

But the course was a tolerably long one, and the consequence 
was that when he had traversed almost half the distance, his 
exertions began to tell on him, and his strokes got rather wild 
and irregular. Before very long some of the steadier swim- 
- :ers began to creep up to him, and before two- thirds of the 
distance was traversed he was passed by two of them. The 
result of the race was, although he was well ahead half way, 
he did not even get a place at the finish. 



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